Podcast appearances and mentions of Donald Runnicles

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

In the thirty-fifth year of his career, Daniel Sumegi has sung over one hundred operatic roles on many of the world's major stages – including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Washington National Opera, Seattle Opera, as well as at Opera Australia.  He has also appeared in the opera houses of Bonn, Cologne, Frankfurt and Hamburg, as well as Paris, Barcelona, Tokyo, Hong Kong, Los Angeles and Houston among many others. Regarded also for his dynamic acting, his broad repertoire encompasses all periods of music – from Monteverdi and Mozart to Britten, Tippett and Puts.  Equally comfortable as Strauss' Baron Ochs, Mozart's Sarastro and Commendatore, Verdi's Grand Inquisitor and Sparafucile, Offenbach's Four Villains or Puccini's Scarpia, he has participated in Ring Cycles in New York, Los Angeles, San Francisco, Strasbourg, Cologne, Tokyo, Buenos Aires, Seattle, Melbourne and Adelaide, most notably as Hagen.  He has additionally performed Hunding in concert for the Hong Kong, Atlanta, Stuttgart and Melbourne Symphony Orchestras. Daniel's 2021/2022 engagements included Die Walküre (Singapore), Salome (Victorian Opera), Fidelio (Dublin) and Bluebeard's Castle, Aida and Lohengrin (Opera Australia). Among other roles, he has sung Die Meistersinger von Nürnberg (Pogner) for Opera Australia, Salome (Jochanaan) for New Israeli Opera, Der fliegende Holländer (title role) for Malmö Opera in Sweden and Carmen (Zuniga) for Seattle Opera.  He also undertook his music theatre debut, as Judge Turpin in Sondheim's Sweeney Todd, seen in Sydney and Melbourne.   Past highlights include Don Carlo and Madama Butterfly (Metropolitan Opera), Der Rosenkavalier (Scottish and Welsh National Opera), Luisa Miller (San Francisco), Billy Budd and Rigoletto (Los Angeles), Parsifal (Hamburg, Barcelona, Adelaide), Salome (Washington, Hamburg, Leeds, Hong Kong), Der fliegende Holländer, Aida, Beatrice and Benedict and Barbiere (Seattle), Manchurian Candidate (Minnesota, Austin), and more than 25 principal roles for Opera Australia. He has collaborated with noted conductors such as James Conlon, Sir Andrew Davis, Charles Dutoit, Dan Ettinger, Asher Fisch, Valery Gergiev, Nicola Luisotti, Sir Charles Mackerras, Yannick Nézet-Séguin, Renato Palumbo, Sir Simon Rattle, Carlo Rizzi, Donald Runnicles, Nello Santi, Sir Jeffrey Tate, Edo de Waart, Sebastian Weigle, and Simone Young. Daniel Sumegi appears on CD in Beatrice di Tenda and Seattle Opera's acclaimed Ring Cycle, and on DVD in the San Francisco Opera Production of Capriccio, Opera Australia's Don Giovanni, and the historic condensed Ring Cycle from Teatro Colón, Buenos Aires. In December, he makes his role début as Wotan/The Wanderer in OA's new production of Der Ring des Nibelungen. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

SynopsisOn today's date in 2012, at the Royal Albert Hall in London, the BBC's SCOTTISH Symphony, under the direction of SCOTTISH conductor Donald Runnicles, gave the world premiere of a new orchestral piece by the SCOTTISH composer Thea Musgrave.You might be forgiven for asking, “Were any bagpipes involved?” No, but the piece did involve the next best thing­ – ­if you're Scottish that is–namely the Loch Ness monster. The new piece was entitled Loch Ness – A Postcard from Scotland and here's how Thea Musgrave described her new work:“This Scottish loch is famous for its monster - only very occasionally seen. In this lighthearted work he, the monster (a tuba), emerges from the depths (E flat) to find the sun (A major) coming out from a thick mist (string clusters). “As he plays he is warmed by the sparkling sun (trumpets) and by the strains of an ancient Scottish melody. As the sun goes down, he dives back into the deep waters with a big splash. Then a cool moon rises, a light breeze ruffles the surface of the waters, and all is at peace.”Music Played in Today's ProgramThea Musgrave (b. 1928) Loch Ness – A Postcard from Scotland BBC National Orchestra of Wales; William Boughton, conductor. Lyrita 372

Live from the Grand Teton Music Festival is a series of one-hour podcasts hosted by Music Director Sir Donald Runnicles and GTMF General Manager Jeff Counts. Season Six celebrates the Festival's 2022 season at Walk Festival Hall in Jackson Hole. Grand Teton Music Festival OrchestraSir Donald Runnicles, conductorLudwig van BeethovenThe Creatures of Prometheus Overture, Op. 43Johannes BrahmsSymphony No. 1 in C minor, Op. 68

As Scottish Opera celebrates its sixtieth anniversary, Kate Molleson talks to key figures and artists from the company about its past, present and future including the company's General Director Alex Reedijk, Emerging Artist Lea Shaw, critic Ken Walton and conductor Donald Runnicles. Kate speaks to Josie Dixon, curator of the exhibition ‘Music and Migration in Georgian Edinburgh' which tells the story of Felix Yaniewicz, a Polish-Lithuanian virtuoso violinist who founded the first ever Edinburgh Festival, and to the satirist, writer and director Armando Iannucci who is giving a talk about music, migration and Scotland. Novelist, short-story writer, and community arts worker Jan Carson talks to Kate about her new collaboration with the Ulster Orchestra and children from Carniny Primary School in Ballymena, County Antrim. And as music venues across the UK prepare for a summer of live music free of covid restrictions, we look at the extent to which audiences are returning to the concert halls and what impact that has on a venue's programming. Kate speaks to David Dodd of the Hall for Cornwall, Jane Ann Purdy, co-director of the Soundhouse concerts which take place at the Traverse in Edinburgh, and Neil Bennison from the Royal Concert Hall in Nottingham. Producer: Graham Rogers

Throughout the summer, we'll be developing a brand podcast that will have a new name and a new sound. In the meantime, we'll be revisiting some of our favorite interviews from our first four years while still keeping you up-to-date on things to do in and around Atlanta. In 2018, Atlanta Symphony Orchestra conductor and music director Robert Spano announced that he'd be leaving the orchestra in 2021. The pandemic postponed that for a year, and he spent the 2021-22 season as co-artistic director with ASO principal guest conductor Donald Runnicles. This weekend, the ASO's season finale will also serve as Spano's farewell. Soon after the announcement of his departure, Bo Emerson spoke with Spano about his time in Atlanta leading the ASO and you can hear that on this week's podcast along with our usual roundup of some things to do in and around Atlanta. Learn more about your ad choices. Visit megaphone.fm/adchoices

(Lander, WY) – Did you know 1330 KOVE AM / 107.7 FM's Coffee Time has switched times and is now an hour long? Coffee Time officially switched from it's half hour time slot at 9:30 AM, to a full hour beginning at 8:00 AM, which means Fremont County can now get their cup of joe a little bit earlier than normal! In addition to the normal Coffee Time interviews, the one hour block will now include more Fremont County news, a daily sports update with Wyatt Burichka, the National Native News segment, and much more. As a part of the new hour-long format, Coffee Time host Vince Tropea recently chatted with Lander Art Center (LAC) Outreach Coordinator Oakley Boycott, who filled us in on all the happenings at the LAC. Boycott is performing on stage on the other side of the country in New York, so she phoned in to Coffee Time to let us know about some upcoming classes and events at the LAC. (To see Oakley perform R. Strauss's Elektra this Saturday, click here; Donald Runnicles, the show's director, is also the Music Director for the Grand Teton Music Festival!) Boycott also turned the tables on host Vince Tropea, and asked questions about his upcoming Improv Comedy class starting tomorrow, April 14th, at the LAC. (Click here to register for the Improv class, there's still time!) Check out the full Coffee Time interview with Boycott below to learn more about what the Improv Comedy class will entail, what she's been up to with her own performances, and what the LAC has in store for folks this summer event season. The interview begins around the 11 minute 40 second mark. Be sure to tune in to Coffee Time every morning at 8:00 AM on 1330 KOVE AM / 107.7 FM, or stream it live right here.

Sir Donald Runnicles, conductorMarc NeikrugThe Unicorn at Atlas Peak (Festival Co-Commision)RachmaninoffPiano Concerto No. 3 in D minor, Op. 30Yefim Bronfman, piano__________________________________________The Grand Teton Music Festival's mission is to provide exhilarating musical experiences. The Festival's 60th Season - from July 2-August 21, 2021 - will feature seven weeks of performances, including one week outdoors at the Center for the Arts Park in downtown Jackson, followed by six weeks at Walk Festival Hall. Under the baton of world-renowned Music Director Sir Donald Runnicles, Festival Orchestra musicians come to Jackson, WY to gather inspiration from the mountain setting and to provide spectacular music for audiences. Details: gtmf.org

 Today we're talking with Mei-Ann Chen, Music Director of Chicago Sinfonietta, about enhancing your rehearsals with Rehearsal Language, how she led the orchestra to win a MacArthur Award for their Theatrical and Diverse Programming, and how her Project Inclusion Conducting Fellows learn and prepare for a professional conducting career. This interview was originally recorded for the PT100 Livestream Extravaganza to raise money for the Conducting Fellowship through Chicago Sinfonietta. This is the full interview, including over 30 minutes that were cut from the livestream presentation. Please support Project Inclusion and learn more at https://www.chicagosinfonietta.org/education/project-inclusion. Today we discuss:Chicago Sinfonietta and the Project Inclusion Program (6:15)Who should apply to the Conducting Fellowship and what Mei-Ann is looking for in a conducting applicant (15:50)Rehearsal Language and Auditioning with confidence for Professional Orchestra (21:12)The most important lessons that Mei-Ann learned from her teachers, including Frank Battisti, Marin Alsop, Donald Runnicles, and Robert Spano (41:17)How Chicago Sinfonietta won a MacArthur Award for their theatrical and diverse programming (49:04)Project W and Mei-Ann’s Hidden Gem composers (55:36)Final Advice (1:08:50) Check out everything that Chicago Sinfonietta has to offer, including Project Inclusion, their virtual Membership, and their recordings for Project W on Spotify. Find this and all other episodes at PodiumTimePod.com. Subscribe and download Podium Time on your favorite podcast player and connect with us on Facebook, Twitter, and Instagram at @PodiumTimePod. You can also join our Facebook Group, the Podium Time Inner Circle to ask questions and continue the conversation after every episode. Want to send us an email? Use the contact page on our website! If you’d like to support the podcast monetarily and get bonus content, consider joining our Patreon community at Patreon.com/PodiumTimePod. If you’re in the market for a new baton, use our promo code “PodiumTime” at Pagubatons.com for 20% off your first order. Support the show (https://patreon.com/podiumtimepod)

Francesco Lecce-Chong is the Music Director of the Eugene Symphony in Oregon, and the Santa Rosa Symphony, performing at the Green Music Center in Northern California. The press has described him as a “fast rising talent in the music world” with “the real gift” and recognized his dynamic performances, fresh programming, deep commitment to commissioning and performing new music as well as to community outreach. Mr. Lecce-Chong has appeared with orchestras around the world including the San Francisco Symphony, New York Philharmonic, National Symphony, Atlanta Symphony, Pittsburgh Symphony, Toronto Symphony, St. Louis Symphony, and Hong Kong Philharmonic and collaborated with top soloists including Renée Fleming and Itzhak Perlman. Other recent subscription debuts included the Colorado Symphony, Louisville Orchestra, Louisiana Philharmonic and Xi’An Symphony Orchestra. Mr. Lecce-Chong has also returned to conduct the Civic Orchestra of Chicago, Milwaukee and San Diego Symphony. The 19/20 season also marked his debut with the New York Philharmonic as part of the legendary Young People’s Concert Series.Following the paths of renowned Music Directors of the Eugene and the Santa Rosa aSymphonies including Marin Alsop, Giancarlo Guerrero and Jeffrey Kahane, Mr. Lecce-Chong has made his mark with the two orchestras introducing a series of new music and community initiatives. In 2019, the orchestras announced Mr. Lecce-Chong’s “First Symphony Project” commissioning four major orchestral works by young composers – Matt Brown, Gabriella Smith, Angélica Negrón and Michael Djupstrom – to be performed over several seasons accompanied by multiple composer residencies and community events. In Eugene, he has reinitiated family concerts and presented a number of innovative projects such as an original multimedia performance of Scriabin’s compositions engaging light and color.In the 20/21 season, an unprecedented one for live orchestral music, Mr. Lecce-Chong will conduct virtual concerts with both the Santa Rosa and the Eugene Symphony, specifically created for online audiences. The performances will be streamed worldwide and will take a unique form of a cohesive musical journey complete with interviews with musicians. The programs will include music by living composers Jessie Montgomery, Gabriella Lena Frank and Chen Yi. Santa Rosa Symphony will also celebrate Beethoven’s 250th with performances of his first three symphonies.During his successful tenures as Associate Conductor with the Milwaukee Symphony under Edo de Waart and the Pittsburgh Symphony under Manfred Honeck, Mr. Lecce-Chong also dedicated his time to opera, building his credentials as staff conductor with the Santa Fe Opera and conducted Madama Butterfly at the Florentine Opera with the Milwaukee Symphony. Mr. Lecce-Chong is the recipient of several distinctions, including the prestigious Solti Foundation Award. Trained also as a pianist and composer, he completed his studies at the Curtis Institute of Music with Otto-Werner Mueller after attending the Mannes College of Music and Accademia Musicale Chigiana in Italy. He has had the privilege of being mentored and supported by celebrated conductors including Bernard Haitink, David Zinman, Edo de Waart, Manfred Honeck, Donald Runnicles and Michael Tilson Thomas.You can find out more about Francesco on his website, lecce-chong.com, or on Instagram @leccechong.

An der Deutschen Oper Berlin gab es die erste große Opernpremiere seit Beginn der Corona-Epidemie: Richard Wagners "Walküre" aus der Tetralogie "Der Ring des Nibelungen". Stefan Herheim hat den ersten Tag des Bühnenfestspiels inszeniert und die musikalische Leitung hat Donald Runnicles. Eine Kritik von Kai Luehrs-Kaiser.

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Join us as we head to Jackson Hole, Wyoming to chat with Maestro Donald Runnicles, the General Music Director of the Deutsche Oper Berlin, Music Director of the Grand Teton Music Festival and the Principal Guest Conductor of the Atlanta Symphony Orchestra, about working within the confines of Covid in Germany and the summer months with the moose of Wyoming. https://www.donaldrunnicles.org/

On today’s date in 2012, at the Royal Albert Hall in London, the BBC’s SCOTTISH Symphony, under the direction of SCOTTISH conductor Donald Runnicles, gave the world premiere of a new orchestral piece by the SCOTTISH composer Thea Musgrave. You might be forgiven for asking, “Were any bagpipes involved?” No, but the piece did involve the next best thing¬–¬if you’re Scottish that is–namely the Loch Ness monster. The new piece was entitled “Loch Ness – A Postcard from Scotland” and here’s how Thea Musgrave described her new work: “This Scottish loch is famous for its monster - only very occasionally seen. In this lighthearted work he, the monster (a tuba), emerges from the depths (E flat) to find the sun (A major) coming out from a thick mist (string clusters). “As he plays he is warmed by the sparkling sun (trumpets) and by the strains of an ancient Scottish melody. As the sun goes down, he dives back into the deep waters with a big splash. Then a cool moon rises, a light breeze ruffles the surface of the waters, and all is at peace.”

On today’s date in 2012, at the Royal Albert Hall in London, the BBC’s SCOTTISH Symphony, under the direction of SCOTTISH conductor Donald Runnicles, gave the world premiere of a new orchestral piece by the SCOTTISH composer Thea Musgrave. You might be forgiven for asking, “Were any bagpipes involved?” No, but the piece did involve the next best thing¬–¬if you’re Scottish that is–namely the Loch Ness monster. The new piece was entitled “Loch Ness – A Postcard from Scotland” and here’s how Thea Musgrave described her new work: “This Scottish loch is famous for its monster - only very occasionally seen. In this lighthearted work he, the monster (a tuba), emerges from the depths (E flat) to find the sun (A major) coming out from a thick mist (string clusters). “As he plays he is warmed by the sparkling sun (trumpets) and by the strains of an ancient Scottish melody. As the sun goes down, he dives back into the deep waters with a big splash. Then a cool moon rises, a light breeze ruffles the surface of the waters, and all is at peace.”

In der Deutschen Oper Berlin gab es gestern eine ungewöhnliche Premiere: Richard Wagners "Rheingold" als Open Air auf dem Parkdeck des Opernhauses. Donald Runnicles dirigierte die komprimierte Fassung des britischen Komponisten Jonathan Dove. Unser Kritiker Kai Luehrs-Kasier sagt uns, wie ihm der Abend gefallen hat.

Richard Wagners Oper "Rheingold", in einer gekürzten Version und unter der musikalischen Leitung von Donald Runnicles hatte auf dem Parkdeck der Deutschen Oper Berln Premiere. Wie die ausverkaufte Vorstellung unter freiem Himmel war, darüber berichtet Kulturredateurin Barbara Wiegand.

Host and opera singer Fredrika Brillembourg talks with conductor Donald Runnicles. He is the general music director of the Deutsche Oper Berlin and music director of the Grand Teton Music Festival in Jackson, Wyoming.

As he returns to his native Scotland to conduct the BBC Scottish Symphony Orchestra in Bruckner’s mighty eighth symphony, Kate speaks to the conductor Donald Runnicles about his relationship with the composer’s music and a lifetime spent making music. Kate visits Xenia Pestova Bennett at Queen Mary University of London to hear about her second album which features a new instrument, the Magnetic Resonator Piano. She tells Kate about her creative responses to the effects that electromagnets can induce on a regular concert grand piano. And marking the 200th anniversary of the birth of Henri Veuxtemps, Music Matters hears from the violinist Anne Akiko Meyers – the current custodian of the composer’s famous Guarneri del Gesù violin. She describes the sound characteristics of what is reportedly the world’s most expensive instrument. Kate also catches-up with the author Sophy Roberts to learn about her travels across Siberia in search of the backstories of keyboards scattered across an eleventh of the world’s landmass. From clavichords transported by governors on sledge, through pianos which have weathered the region’s furtive cold, to a keyboard hacked out of a Gulag bunkbed frame, Kate hears how these instruments embody the soul of Siberia.

Kelley sang the role of Federico Lorca in the original version of Osvaldo Golijov’s opera Ainadamar.Kelley earned her Bachelor of Music degree from Thornton School of Music at the University of Southern California and her master's degree in Music from the University of California, Los Angeles.John Adams is an American composer, clarinetist, and conductor of classical music and opera, with strong roots in minimalism.Suzuki is a character in the opera Madame Butterfly, an opera in three acts (originally two) by Giacomo Puccini.Roberto De Candia is an Italian operatic baritone.Maria Luigia Borsi is an Italian opera singer.Hadleigh Adams is an operatic baritone from Palmerston North, New Zealand. Hadleigh recently played Mercutio in Cincinnati Opera’s performance of Charles Gounod’s Romeo and Juliet.Die Fledermaus is an operetta composed by Johann Strauss II.A breeches role (also pants role or trouser role) is a role in which an actress appears in male clothing.Tanglewood is a music venue in the towns of Lenox and Stockbridge in the Berkshire Hills of western Massachusetts.The Cleveland Orchestra, based in Cleveland, is one of the five American orchestras informally referred to as the "Big Five".Requiem Canticles is a 15-minute composition by Igor Stravinsky, for contralto and bass soli, chorus, and orchestra.Cherubino is a character in The Marriage of Figaro, an opera buffa (comic opera composed by Wolfgang Amadeus Mozart."The Composer" is a character in Richard Strauss's opera Ariadne auf Naxos.Das Lied von der Erde ("The Song of the Earth") is a composition for two voices and orchestra written by the Austrian composer Gustav Mahler.Cecilia Bartoli is an Italian coloratura mezzo-soprano opera singer and recitalist.“Voi Che Sapete” is an aria from The Marriage of Figaro.Renée Fleming is an American soprano, known for performances in opera, concerts, recordings, theater, film, and at major public occasions.Leontyne Price is an American soprano. She rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.Robert Spano is an American conductor and pianist.The Gospel According to the Other Mary is an opera/oratorio by John Adams.Peter Sellars is an American theatre director, noted for his unique contemporary staging of classical and contemporary operas and plays.El Niño is an opera-oratorio by John Adams.Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.El Salón México is a symphonic composition in one movement by Aaron Copland, which uses Mexican folk music extensively.Der Ring des Nibelungen (The Ring of the Nibelung) is a cycle of four German-language epic music dramas composed by Richard Wagner.Kelley grew up in Clovis, California.Audra McDonald is an American actress and singer. Primarily known for her work on the Broadway stage, she has won six Tony Awards, more performance wins than any other actor, and is the only person to win all four acting categories. McDonald was raised in Fresno, California.La Cenerentola is an operatic dramma giocoso by Gioachino Rossini.The Turn of the Screw is a 20th-century English chamber opera composed by Benjamin Britten.Claude Debussy was a French composer.Phyllis Curtin was an American classical soprano who had an active career in operas and concerts from the early 1950s through the 1980s.Donald Runnicles is a Scottish conductor.Louis Langrée is the music director of the Cincinnati Symphony Orchestra.Evans mentions the following Mahler works: Symphony No. 2 (known as the Resurrection Symphony), Symphony No. 3, Symphony No.8, Rückert-Lieder, and Kindertotenlieder.The songs of Des Knaben Wunderhorn (The Boy’s Magic Horn) by Gustav Mahler are voice-and-piano and orchestral settings of German folk poems chosen from a collection of the same name.The Rape of Lucretia is an opera by Benjamin Britten.Carnegie Hall is a concert venue in Midtown Manhattan in New York City.The Neruda Songs are a cycle of five songs composed for mezzo-soprano soloist and orchestra by the American composer Peter Lieberson for his wife, singer Lorraine Hunt Lieberson. Lieberson chose O'Connor as the first mezzo-soprano to sing his composition Neruda Songs live in concert after the death of his wife.Bernard Haitink is a Dutch conductor.The Atlanta Symphony Orchestra (ASO) is an American orchestra based in Atlanta, Georgia. Robert Spano has been its music director since 2001.Agustín Barrios was a Paraguayan virtuoso classical guitarist and composer, largely regarded as one of the greatest performers and most prolific composers for the guitar.Carmen is an opera by French composer Georges Bizet.The Dream of Gerontius is a work for voices and orchestra in two parts composed by Edward Elgar in 1900, to text from the poem by John Henry Newman.Wesendonck Lieder is the common name of a set of five songs for female voice and piano Wagner, Fünf Gedichte für eine Frauenstimme (Five Poems for a Female Voice).Hans Werner Henze was a German composer.Sea Pictures is a song cycle by Elgar consisting of five songs written by various poets.Jascha Heifetz was a Russian-American violinist.Kelley cites Dawn Upshaw, an American soprano, as her most important mentor.The Unbearable Lightness of Being is a 1984 novel by Milan Kundera, about two women, two men, a dog and their lives in the 1968 Prague Spring period of Czechoslovak history.Tidying Up with Marie Kondo is a reality television series developed for Netflix and released on January 1, 2019.Kelley mentions Here’s the Thing and Fresh Air as some of her favorite podcasts.Zero, aptly named for the amount of food you eat during a fast, is a simple tracker that helps users sync a fast with their biological clock.Spotify Technology S.A. is a Swedish media-services provider founded in 2006 with an app of the same name.Pandora is a music application.Metropol Restaurant & BarJessica Rivera is an American soprano of Peruvian-American ancestry.Kelley cites Nina Simone as one of her favorite musicians outside of classical music.

Jet-set conductor Donald Runnicles is all over the map, literally. In Berlin, he's music director of the German Opera. In Wyoming, he heads the Grand Teton Music Festival. And he often visits Georgia as principal guest conductor of the Atlanta Symphony Orchestra. It all began in Scotland, where Runnicles grew up the son of a church choirmaster and an amateur pianist. In May, between weekends of Debussy and Beethoven with the ASO, he sat down with GPB's Sarah Zaslaw. She asked about his earliest musical experience.

On the cover CD of the September issue of BBC Music Magazine, the BBC Scottish Symphony Orchestra perform Beethoven's 'Eroica' Symphony No. 3, conducted by Donald Runnicles. In this podcast, acting deputy editor Rebecca Franks and editorial assistant Elinor Cooper introduce the work, complete with extracts. See acast.com/privacy for privacy and opt-out information.

A guide to Wagner's opera Tristan und Isolde featuring the voices of conductors Antonio Pappano and Donald Runnicles, plus Wagner specialists Sarah Lenton and John Deathridge.

In the conclusion of this three-part series, we look back at the work of American baritone Clarence Whitehill, who excelled in Wagnerian roles around the world, and first performed at the Bayreuth Festival in 1904. The program also features the work of some of the best Wagner conductors on the scene today. We highlight musical excerpts from Donald Runnicles at the Vienna State Opera, Valery Gergiev at the MET, and Pierre Boulez leading the 2004 controversial staging of Parsifal from the enfant terrible of German art, Christoph Schlingensief.